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Тема:Kostdanila/@comment-27734307-20151028094114
Переведи дословно: Georges Remi—best known under the pen name Hergé—was employed as editor and illustrator of Le Petit Vingtième ("The Little Twentieth"),8 a children's supplement to Le Vingtième Siècle ("The Twentieth Century"), a staunchly Roman Catholic, conservative Belgian newspaper based in Hergé's native Brussels. Run by the Abbé Norbert Wallez, the paper described itself as a "Catholic Newspaper for Doctrine and Information" and disseminated a far-right, fascist viewpoint.9 According to Harry Thompson, such political ideas were common in Belgium at the time, and Hergé's milieu was permeated with conservative ideas revolving around "patriotism, Catholicism, strict morality, discipline, and naivety".10 "For the Congo as with Tintin in the Land of the Soviets, the fact was that I was fed on the prejudices of the bourgeois society in which I moved ... It was 1930. I only knew things about these countries that people said at the time: 'Africans were great big children ... Thank goodness for them that we were there!' Etc. And I portrayed these Africans according to such criteria, in the purely paternalistic spirit which existed then in Belgium." Hergé, talking to Numa Sadoul11 In 1929, Hergé began The Adventures of Tintin comic strip for Le Petit Vingtième, a series about the exploits of a fictional Belgian reporter named Tintin. Following the success of Tintin in the Land of the Soviets, serialised weekly in Le Petit Vingtième from January 1929 to May 1930, Hergé wanted to send Tintin to the United States. Wallez insisted he write a story set in the Belgian Congo, then a Belgian colony and today the Democratic Republic of the Congo.12 Belgian children learned about the Congo in school, and Wallez hoped to encourage colonialist and missionary zeal in his readership.13 He believed that the Belgian colonial administration needed promotion at a time when memories "were still fairly fresh" of the 1928 visit to the colony by the Belgian King Albert and Queen Elisabeth.14 He also hoped that some of his readers would be inspired to work in the Congo.15 Hergé characterised Wallez's instructions in a sarcastic manner, saying Wallez referred to the Congo as "our beautiful colony which has great need of us, tarantara, tarantaraboom".16 He already had some experience in illustrating Congolese scenes; three years previously, Hergé had provided two illustrations for the newspaper that appeared in an article celebrating the fiftieth anniversary of Henry Morton Stanley's expedition to the Congo. In one of these, Hergé depicted a native Congolese bowing before a European, a scene that he repeated in Tintin in the Congo.17 As in Land of the Soviets, where Hergé had based his information about the Soviet Union almost entirely on a single source, in Tintin in the Congo he used limited source material to learn about the country and its people. He based the story largely on literature written by missionaries, with the only added element being that of the diamond smugglers, possibly adopted from the "Jungle Jim-type serials". Hergé visited the Colonial Museum of Tervuren, examining their ethnographic collections of Congolese artefacts, including costumes of the Leopard Men.19 He adopted hunting scenes from André Maurois's novel The Silence of Colonel Bramble, while his animal drawings were inspired by Benjamin Rabier's prints. He also listened to tales of the colony from some of his colleagues who had been there, but disliked their stories, later claiming: "I didn't like the colonists, who came back bragging about their exploits. But I couldn't prevent myself from seeing the Blacks as big children, either.